Ferromagnetic alloys based on Ni-Fe-Ga-(Сo) undergo thermoelastic В2(L2 1 )-10М-14М-L1 0 martensitic transformations (MTs) and are capable of reversible changes in size and shape when subjected to thermal action, mechanical stresses and magnetic fields. The Ni-Fe-Ga-(Сo) alloys possess reserve plasticity unlike the brittle Ni 2 MnGa alloys, and can be used in a variety of current technological applications [1]. The authors of [2,3] investigated the magnetic properties and characteristic temperatures of thermoelastic MTs in Ni-Fe-Ga-(Сo) polycrystals as a function of their chemical composition and heat treatment. It was shown that due to a changing content of Co and precipitation of particles of the γ(А1)-and γ′(L1 2 )-phases during annealing at the temperatures within 673-973 K, one can control the temperature of the onset M s and end M f of the direct and A s , A f reverse MTs, as well as the Curie temperature and other characteristics of the material. On the other hand, no systematic investigations of the effect of ageing on the mechanisms of MTs and functional properties of the Ni-Fe-Ga-Co crystals have been conducted so far.The present work deals with the effect of heat treatment on the mechanisms of development of thermoelastic MTs using single crystals of Ni 49 Fe 18 Ga 27 Со 6 (at.%). The experimental procedure is detailed in [4]. For the experiments we selected single crystals in the following structural states: initial as-grown crystals (I), quenched after annealing at 1373 K, 25 min (II), (quenched + aged at 673 K, 1 h (III), quenched + aged at 673 K, 4 h (IV), quenched + aged at 823 K, 0.5 h (V)) It has been established that the crystals after being grown (I) at room temperature are in a single-phase state. The high-temperature phase is ordered as L2 1 . This is evidenced by the X-ray diffraction peaks corresponding to the superstructure reflections 113 and 331 for the L2 1 -structure in the SADPs. The quenched single crystals (II) are in a two-phase state, with large, 5-10 μm particles of γ-phase precipitated in austenite. Subsequent annealing runs (III-V) result in the formation of bimodal heterophase structure in the austenite phase: large γ-phase particles 5-10 μm long (Fig. 1, particles А) and small γ′-phase particles [3] 5-30 nm long after ageing (III and IV) and up to 150-300 nm after ageing (V) (Fig. 1, particles В).Shown in Fig. 2 are the dependences of electrical resistance on temperature for the initial and heat-treated single crystals. Precipitation of these particles results in changes in the mechanisms of MT development. For one thing, the temperature intervals of the direct Δ 1 = M s -M f and reverse Δ 2 = A f -A s MTs in single crystal specimens (II-V) are by more than a factor of 7 larger compared to the initial state (I) (Fig. 2). Secondly, the crystals after quenching (II) and ageing at 673 K (III and IV) exhibit an MT of the second type according to the classification of Tong-Wayman, and the reverse transformation starts at A s < M s . The single crystal specimens after growing (I) ...

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УДК 78.01 «Русское» в музыке зарубежных композиторов на «русскую тему» Из истории зарубежной музыкиВ статье ставится вопрос о том, как видится «русское» композиторами, принадлежащими другим национальным культурам. Судить об этом позволяет внушительный корпус опусов на «русскую тему». «Русское» в них реализуется посредством уточняюще-разъясняющих заголовков и арсенала музыкальных средств и приёмов. Весьма многообразные подходы к теме систематизированы и объединяют три «лика» «русского». В одном из них оно трактуется как обозначение государства («русское» отождествляется с «российским»), маркерами которого становятся географические названия (Россия, её реки, регионы, столицы и города), Север как географическая дислокация, вехи исторического прошлого, коронованные особы и события жизни царской семьи. Другой аспект показывает общественную и частную жизнь человека («русское» превращается в «этнографическое»), открывающуюся через использование в названиях слов русского лексикона, русских имён собственных, атрибутов быта (сани, тройка), через звучание русской песни и наигрыша, танцевальные жанры, тембры национальных инструментов, фрагменты из произведений русских композиторов и тексты русских литераторов. Третий ракурс освоения русского акцентирует православие как религиозную составляющую русского мира («русское» предстаёт как «конфессиональное»). Религиозный аспект русского раскрыт усилиями Бальдассаре Галуппи, Катерино Кавоса, Джона Тавенера, Арво Пярта.Обзор многочисленных примеров воплощения «русской темы» зарубежными композиторами показывает гибкость, расплывчатость географических и этнических границ «русского» в их музыке.

During the course of centuries in the music of composers from outside of Russia one can discern an entire category of works dedicated to Russia. The experience of certain spheres of knowledge – book studies, source studies, archival studies, map studies, collecting, history, literary studies, art studies, cinema studies – has stipulated the possibility of applying the concept of “Rossica,” well-known in scholarly use, to this segment of artistic expression. The article offers and substantiates the concept of “musical Rossica” as a sphere of musical creativity, demonstrating a vision of Russia (or, in the narrow sense, of Russianness) through the prism of other cultures. Considering the importance of mental-culturological distancing of the Russian from the non-Russian, it becomes a legitimate position to add to the musical Rossica the compositional legacy of Russian émigrés connected with their former homeland. A differentiation of the concept (“German musical Rossica,” “romance-song Rossica,” “folk music Rossica,” etc.) is accepted. The concept of “musical Rossica” discloses a number of possibilities: to attract attention to the lesser-known marginal field of the outstanding masters’ heritage (Georges Bizet, Charles Gounod, Gaetano Donizetti, Felix Mendelssohn-Bartholdy and Franz Schubert); to bring into the scholarly domain artefacts previously cast aside onto the periphery of the historical process; to find meaning not only with separate works, but with a serious artistic tendency; to indicate a problem field which would be productive for musicology. “Musical Rossica” makes it possible to build a more complete picture of the musical field outside of Russia, to form an objective evaluation of the significance of Russian music as a part of the world music process, to overestimate the role of the literary heritage of Russia (through its numerous musical interpretations) in foreign culture, and, thereby, to make a feasible contribution to the formation of the self-consciousness of Russians, as well as an objective international image of Russia.

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